I had the overwhelming pleasure of experiencing Marina Abramovicâs â512 hoursâ, exhibition which explores the extent of spiritual heightening in the gallery, and much like her 2010 work at Moma, the artist is constantly and directly present. The work comprised of 3 months of un-improvised events using only a selection of basic props (if needed), and 150 people that were allowed into the space at any one time, effectively starting of in work terms with nothing.
It was important to note the normality of absurdity and the time I unconsciously dedicated to each act. Stepping into the space, all those who joined the piece seemed to be met with a certain bewilderment, which quickly turned to curiosity at the various unusual activities in the room. There was a complete lack of judgment from those already occupying the 3 rooms and so you felt comfortable to explore in your own time, and felt united by the ear defenders that everyone wore. This for me seemed to stand out more so then the obvious differences in clothing that each individual had wore coming into the space, helping me ease into the process. At the moment I felt somewhat lost unsure of how to participate or involve myself, a woman who was an aid to the artist took my hand and warmly smiled. This direct contact didnât feel invasive like it would have, had I been outside the space and I simply allowed this woman to guide me as she saw fit. At the time I was unsure as to whether she was a helper or a general participant, but it really didnât matter. The complete white room gave no indication of being situated where it was in Kensington Gardens (within the hectic capital of London), and therefore the expectation and unspoken rules of the outer world seemingly broke down into something much more simple and welcoming. It contrasted completely against the fact it was my first time within London itself where I quickly realised no one had a moment to spare to help with my confusion at the underground tube map, and the isolation I had felt because of that.
The thought process that came with the walking activity was a simple and mundane act, which dramatically transformed itself while in the space. I, along with 4 or 5 others, slowly walked from one side of the room to the other. Quickly each step became an exercise of balance as I soon became entranced with trying to place the weight of each step in the exact same place as the last, and touch the floor in the same motion each time. On occasion I would repeat the step if I deemed it improperly carried out, and often toiled in the sensation of my foot touching the floor. This everyday sensation was heightened to total prominence, and the lack of watch, phone or any other time based device gave me all the time I felt necessary to meditate on this simple act. This, I worked out was unapologetically around 2 hours, until I naturally moved away into the next activity I was drawn to. Even in seclusion the open and bizarrely surreal space transformed what can be regarded as next to nothing into something monumentally important. With each new day, and each person, the space is charged, depending on the energies of the participants, and it was evident that the central room was equally the energy centre of the work.
Marina Abramovic has evidently become a main stream force in recent years, as well as being a renowned and devote artist in the art world, and she has an immense fan base. What I seemed to notice is that wherever she moved she also had participants follow her room to room. There was a divide in this âcultâ of followers however, from those purely there to see Marina, those trying to understand the work by experience of the artist interacting with the people, and those craving her personal attention. I have to say, that it would be so easy for me to be the latter group because of my devote appreciation of her as a character, and her work. I approached the space to feel the work, and so this open energy enabled me  to jump into the activity of the piece. The intensity of my own spiritual state during that time, simply eradicated any fan like behaviour. Fortunately for myself, Marina at one point approached me as I sat bathing in the energy in the centre room, and led me by hand onto the central platform; she signalled for me to close my eyes, and stood feeling my racing heart beat until it soothed. Her persona is one of discipline, and at the same time extremely open, and understanding in her approach.Â
Many of the critiques of Marinaâs more main stream success, has deemed her a âsell outâ and âuntrue to the art form.â I feel this opinion is extremely close minded, and her commercial success did not hinder the work at all. If anything this tool is used to all of our advantage to bring the people, and have a constant stream of energy, ready to let themselves be open, and I applaud that innocent manipulation of her power. As a pioneer of performance art when it first started in the mid to late 90âs, she has not kept quiet of her ambition to establish performance art as a concrete and legitimate art form, the same as painting or sculpture. Through her beliefs and sheer magnetic intent, she is not only using these dense crowds to experience, but to educate. I found the experience very difficult to describe outside of the space she had created, and it was liberating for me to only internally communicate what occurred there. In seclusion the open and bizarrely surreal space transformed next to nothing into something monumentally important and meaningful. I walked away with something deeply personal, as Iâm sure many others did, and the sensation of total spiritual freedom is something I reminisce over still, a month after witnessing the work.
